Festum Fluxorum: Posters of Fluxus Festivals

From its inception in 1961, Fluxus was primed to rattle the dominant artistic culture by employing radical formats and broadening the accessibility and definition of art. Early on George Maciunas, the lead organizer of this disruptive mission, proposed a series of festivals and concerts (“festival of very new music,” as he called it) to showcase new work by visual artists, poets, musicians, and filmmakers in theaters, museums, galleries, and city streets. His aspirations were far-reaching: he envisioned an international network of artists and performers who would put into question conventional categories of artistic practice while simultaneously promulgating the Fluxus name. He recounted his early motivation for the Fluxconcerts in a 1978 interview with the artist Larry Miller:

We thought well, we’ll do concerts, that’s easier than publishing and will give us propaganda like for the publication. Maybe then we’ll find people who will want to buy publications because at first we couldn’t sell Anthology [published in 1963] either, you know, so it was just accumulating at the warehouse. So then the idea was to do concerts as a promotional trick for selling whatever we were going to publish or produce. That’s how the Wiesbaden series came by and that’s the first time that it was called Fluxus Festivals. . . . [Jon Hendricks, ed., Fluxus etc. / Addenda I: The Gilbert and Lila Silverman Collection (New York: Ink &, 1983), p. 15.]

Maciunas regarded the concerts, at least at the start, essentially as advertisements for Fluxus publications, showing again this interchange of artistic categories while also suggesting a more elevated role for his printed editions and ephemera.

As early as May 1962, Maciunas, as self-appointed “chairman” of the Festival Planning Committee, was writing up detailed plans for a series of traveling “Festum Fluxorum” events, complete with provisional lists of performers and programs, for concerts in as many as 16 locations around the world—from Wiesbaden and Paris to Siberia, Luxembourg, San Francisco and Montreal. The first of these concerts to bear the “Fluxus” name was Fluxus Internationale Festspiele Neuester Musik in Wiesbaden, Germany, in September, 1962. (Two earlier concerts, Kleinen Sommerfest: Après John Cage, at Galerie Parnass, Wuppertal, and Neo-Dada in der Musik, at the Kammerspiele, Düsseldorf, were presented respectively on June 9 and 16 of that year, but without sanctioned Fluxus titles.) More than 65 events would follow over the next 15 years, attracting not only Fluxus artists but a wide range of like-minded associates, including Arman, Joseph Beuys, Sylvano Bussotti, György Ligeti, Gustav Metzger, Dieter Roth, and Wolf Vostell. Maciunas’s close circle would expand world-wide: festivals were organized in the Netherlands by Willem de Ridder and Wim T. Schippers and in Denmark by Arthur Köpcke and Eric Andersen; Ben Vautier organized performances in Nice, and Kuniharu Akiyama and Toshi Ichiyanagi staged others in Tokyo; in Eastern Europe, collaborations took place with Milan Knížák in Czechoslovakia and Jarosław Kozłowski in Poland; and still other events were held in Great Britain, Sweden, Norway, Spain, Lithuania, Hungary, and the U.S., and elsewhere.

Given Maciunas’s interest in publishing, his trademark typography, and background in graphic design, it is not surprising that visually dynamic posters, programs, invitations, mailers, flyers, and other printed ephemera came to play an important role in these events. At times the ephemera were even incorporated into the works and performances themselves. For example, during Fluxorchestra at Carnegie Recital Hall on September 25, 1965, flyers were distributed to the audience as thrown paper airplanes. Hundreds and sometimes thousands of printed sheets were dispersed to the public during these events, in some cases following detailed instructions from Maciunas specifying their quantity, timing, and placement. The posters themselves are now seen to embody the Fluxus ideal of mass-marketed, mass-accessible and often ephemeral art.

The posters, invitations, programs, and flyers shown below have been selected to highlight the international range of Fluxus events from 1962 to 1977 and represent some of the most significant among them. During the processing and cataloguing of The Gilbert and Lila Silverman Fluxus Collection Gift at The Museum of Modern Art, these materials dramatically altered our usual item-by-item approach to the related photographs, objects, scores, and ephemera, prompting us to consider them in the broader and richer context of the festivals, works, performers, photographers, designers, and audience of Fluxus. Types of materials that could be considered marginal prove to be essential in forming an understanding of Fluxus and its visual dispersal (through mailings, newspapers, posters, etc.), web of associated artists, and performative side.

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Senior Cataloguer, Department of Drawings and Prints
The Museum of Modern Art
Emily Edison is Senior Cataloguer in the Department of Drawings and Prints at The Museum of Modern Art, where she has worked since 2011. She oversees cataloguing for...
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Festum Fluxorum: Posters of Fluxus Festivals

From its inception in 1961, Fluxus was primed to rattle the dominant artistic culture by employing radical formats and broadening the accessibility and definition of art. Early on George Maciunas, the lead organizer of this disruptive mission, proposed a series of festivals and concerts (“festival of very new music,” as he called it) to showcase new work by visual artists, poets, musicians, and filmmakers in theaters, museums, galleries, and city streets. His aspirations were far-reaching: he envisioned an international network of artists and performers who would put into question conventional categories of artistic practice while simultaneously promulgating the Fluxus name. He recounted his early motivation for the Fluxconcerts in a 1978 interview with the artist Larry Miller:

We thought well, we’ll do concerts, that’s easier than publishing and will give us propaganda like for the publication. Maybe then we’ll find people who will want to buy publications because at first we couldn’t sell Anthology [published in 1963] either, you know, so it was just accumulating at the...

From its inception in 1961, Fluxus was primed to rattle the dominant artistic culture by employing radical formats and broadening the accessibility and definition of art. Early on George Maciunas, the lead organizer of this disruptive mission, proposed a series of festivals and concerts (“festival of very new music,” as he called it) to showcase new work by visual artists, poets, musicians, and filmmakers in theaters, museums, galleries, and city streets. His aspirations were far-reaching: he envisioned an international network of artists and performers who would put into question conventional categories of artistic practice while simultaneously promulgating the Fluxus name. He recounted his early motivation for the Fluxconcerts in a 1978 interview with the artist Larry Miller:

We thought well, we’ll do concerts, that’s easier than publishing and will give us propaganda like for the publication. Maybe then we’ll find people who will want to buy publications because at first we couldn’t sell Anthology [published in 1963] either, you know, so it was just accumulating at the warehouse. So then the idea was to do concerts as a promotional trick for selling whatever we were going to publish or produce. That’s how the Wiesbaden series came by and that’s the first time that it was called Fluxus Festivals. . . . [Jon Hendricks, ed., Fluxus etc. / Addenda I: The Gilbert and Lila Silverman Collection (New York: Ink &, 1983), p. 15.]

Maciunas regarded the concerts, at least at the start, essentially as advertisements for Fluxus publications, showing again this interchange of artistic categories while also suggesting a more elevated role for his printed editions and ephemera.

As early as May 1962, Maciunas, as self-appointed “chairman” of the Festival Planning Committee, was writing up detailed plans for a series of traveling “Festum Fluxorum” events, complete with provisional lists of performers and programs, for concerts in as many as 16 locations around the world—from Wiesbaden and Paris to Siberia, Luxembourg, San Francisco and Montreal. The first of these concerts to bear the “Fluxus” name was Fluxus Internationale Festspiele Neuester Musik in Wiesbaden, Germany, in September, 1962. (Two earlier concerts, Kleinen Sommerfest: Après John Cage, at Galerie Parnass, Wuppertal, and Neo-Dada in der Musik, at the Kammerspiele, Düsseldorf, were presented respectively on June 9 and 16 of that year, but without sanctioned Fluxus titles.) More than 65 events would follow over the next 15 years, attracting not only Fluxus artists but a wide range of like-minded associates, including Arman, Joseph Beuys, Sylvano Bussotti, György Ligeti, Gustav Metzger, Dieter Roth, and Wolf Vostell. Maciunas’s close circle would expand world-wide: festivals were organized in the Netherlands by Willem de Ridder and Wim T. Schippers and in Denmark by Arthur Köpcke and Eric Andersen; Ben Vautier organized performances in Nice, and Kuniharu Akiyama and Toshi Ichiyanagi staged others in Tokyo; in Eastern Europe, collaborations took place with Milan Knížák in Czechoslovakia and Jarosław Kozłowski in Poland; and still other events were held in Great Britain, Sweden, Norway, Spain, Lithuania, Hungary, and the U.S., and elsewhere.

Given Maciunas’s interest in publishing, his trademark typography, and background in graphic design, it is not surprising that visually dynamic posters, programs, invitations, mailers, flyers, and other printed ephemera came to play an important role in these events. At times the ephemera were even incorporated into the works and performances themselves. For example, during Fluxorchestra at Carnegie Recital Hall on September 25, 1965, flyers were distributed to the audience as thrown paper airplanes. Hundreds and sometimes thousands of printed sheets were dispersed to the public during these events, in some cases following detailed instructions from Maciunas specifying their quantity, timing, and placement. The posters themselves are now seen to embody the Fluxus ideal of mass-marketed, mass-accessible and often ephemeral art.

The posters, invitations, programs, and flyers shown below have been selected to highlight the international range of Fluxus events from 1962 to 1977 and represent some of the most significant among them. During the processing and cataloguing of The Gilbert and Lila Silverman Fluxus Collection Gift at The Museum of Modern Art, these materials dramatically altered our usual item-by-item approach to the related photographs, objects, scores, and ephemera, prompting us to consider them in the broader and richer context of the festivals, works, performers, photographers, designers, and audience of Fluxus. Types of materials that could be considered marginal prove to be essential in forming an understanding of Fluxus and its visual dispersal (through mailings, newspapers, posters, etc.), web of associated artists, and performative side.

Considered to be the first public Fluxus event despite the fact that the Fluxus name did not appear in the title, Kleinen Sommerfest: Après John Cage was organized by Nam June Paik at Rolf Jährling’s Galerie Parnass in Wuppertal, Germany. As the title implies, the concert focused on the influence of John Cage, an early supporter and lasting inspiration of Fluxus artists. George Maciunas and Benjamin Patterson were among those invited to participate; later, as evidenced by Maciunas and Jährling’s hand-written additions to the program, Terry Riley, Dick Higgins, and Jed Curtis were also included.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

Program for Neo Dada in der Musik, Kammerspiele, Düsseldorf, June 16, 1962 [cover]

Another early, unofficial Fluxus event, this concert, too, was organized by Nam June Paik. Many of the works performed were his, including the famous “One for Violin,” which had its premiere on this occasion. Works by George Brecht, Sylvano Bussotti, Jed Curtis, Dick Higgins, Toshi Ichiyanagi, Jackson Mac Low, George Maciunas, Benjamin Patterson, Dieter Schnebel, Wolf Vostell, and La Monte Young were also presented. A pink insert advertises, among other related activities and publications, An Anthology, Fluxus 1, and the upcoming Fluxus Wiesbaden concert.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

Program for Neo Dada in der Musik, Kammerspiele, Düsseldorf, June 16, 1962 [unfolded and insert]

Another early, unofficial Fluxus event, this concert, too, was organized by Nam June Paik. Many of the works performed were his, including the famous “One for Violin,” which had its premiere on this occasion. Works by George Brecht, Sylvano Bussotti, Jed Curtis, Dick Higgins, Toshi Ichiyanagi, Jackson Mac Low, George Maciunas, Benjamin Patterson, Dieter Schnebel, Wolf Vostell, and La Monte Young were also presented. A pink insert advertises, among other related activities and publications, An Anthology, Fluxus 1, and the upcoming Fluxus Wiesbaden concert.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

This poster/flyer/mailer/program, printed on brown wrapping paper, was written by Benjamin Patterson with corrections to the French in red by Robert Filliou. It bears the stamp of Filliou’s conceptual Galerie Légitime and advertises a 24-hour traveling exhibition of Patterson’s work, organized by Filliou. The text reads: “Robert Filliou invites us to attend the opening, on 3-7-1962, in Paris, France, of the exhibition of Benjamin Patterson at the places and times (approximate) that follow: it is also in the streets, buses, metro, leading from one place to another, and in many cafes along these streets.” The poster maps out locations and times of events, beginning at the Pont Saint-Denis and including stops in front of the Mona Lisa at the Louvre, at the Café de Flore or the Deux Magots, and on the steps of the Sacré Coeur. According to Patterson’s account, the pair made all of their stops (even on time) and almost always found an audience waiting. Approximately 300 copies of the announcement were mailed to the public. The tour finished at Galerie Girardon, where a “Sneak Preview” of Fluxus “happenings, environments, poems, dances, compositions” was promised, including works by 18 additional Fluxus artists.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

George Maciunas, while working as a graphic designer for the U.S. military in Wiesbaden, organized what he proposed as the first in a series of festivals of avant-garde music. Held at the Städtisches Museum over a span of 22 days, the events featured more than 50 composers, poets, and artists. The program was originally organized by region (U.S.A., Japan, Europe) but changed continuously. Like most things Fluxus, it was methodically planned and promoted, as seen in the following instructions that Maciunas printed in his first News-Policy Letter: "Poster will be placed:

a. on all Kiosks in Wiesbaden (200) for 2 weeks prior festival.

b. on boards at Museum and Theatres for one month prior festival at Wiesbaden, Mainz, Frankfurt, Koln (?) and during festival itself.

It would be helpful, if the recepients [sic] of this letter could distribute some posters at the towns of their residence. Please inform us the quantity of posters desired."

Evidently, the campaign was successful, and the event drew large audiences and coverage from the press. The flyer and poster were both designed by Maciunas in his signature typographic style. He would use a very similar design three months later for the poster advertising Festum Fluxorum - Poésie, Musique et Antimusique Évènenementielle et ConcrèteSee under this link.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

Poster for Fully Guaranteed 12 Fluxus Concerts, New York, March May 1964

This poster and mailer advertises the first American series of Fluxus concerts that took place over three months in the spring of 1964. Twelve concerts were promised at Fluxhall on Canal Street, plus additional lectures and performances throughout New York. The printed portion of the poster is a Fluxus-published newspaper roll, Ektra Bladet (1963) composed of collaged clippings of Fluxus concert reviews. Over the top, Alison Knowles has silk screened in bright pink, “FLUXUS COMES TO NEW YORK”.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

In 1966, Galerie Block in Berlin hosted a series of concerts that took place at the city’s Forum-Theater. This announcement advertises a pair of concerts over two days, beginning with a Fluxus-Concert that was organized by Dick Higgins and Alison Knowles. On the second day, there was a concert by the Zaj group, whose members include Juan Hidalgo, Walter Marchetti and Tomás Marco. Zaj and Fluxus had previously collaborated, and Maciunas, on occasion, would send the Zaj group Fluxus scores and material to perform.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

This trifold announcement and program documents the only Eastern European Fluxus festival to follow Maciunas’s model in the 1960s. The concert was organized by Milan Knížák, the director of Flux-East and included works by George Brecht, Joe Jones, György Ligeti, Maciunas, Mieko Shiomi, Ben Vautier, Robert Watts, and Emmett Williams. Vautier, Jeff Berner, Dick Higgins, Alison Knowles, and Serge Oldenbourg traveled to Prague for the performance. The announcement also includes a text by Higgins and a Fluxus manifesto, both in Czech.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

This trifold announcement and program documents the only Eastern European Fluxus festival to follow Maciunas’s model in the 1960s. The concert was organized by Milan Knížák, the director of Flux-East and included works by George Brecht, Joe Jones, György Ligeti, Maciunas, Mieko Shiomi, Ben Vautier, Robert Watts, and Emmett Williams. Vautier, Jeff Berner, Dick Higgins, Alison Knowles, and Serge Oldenbourg traveled to Prague for the performance. The announcement also includes a text by Higgins and a Fluxus manifesto, both in Czech.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

Two versions of this poster exist: the first, designed by Ben Vautier (here) was rejected because of its emphasis on Vautier’s Art Total. George Brecht designed a second see here, which was produced and used for the event. The concert was organized by Vautier, Brecht, and P. A. Gette and included works by Fluxus artists such as Eric Andersen, Dick Higgins, Alison Knowles, George Maciunas, Benjamin Patterson, Tomas Schmit, Mieko Shiomi, Robert Watts, Emmett Williams, La Monte Young.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

Two versions of this poster exist: the first see here, designed by Ben Vautier was rejected because of its emphasis on Vautier’s Art Total. George Brecht designed a second (here), which was produced and used for the event. The concert was organized by Vautier, Brecht, and P. A. Gette and included works by Fluxus artists such as Eric Andersen, Dick Higgins, Alison Knowles, George Maciunas, Benjamin Patterson, Tomas Schmit, Mieko Shiomi, Robert Watts, Emmett Williams, La Monte Young.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

Flyer for Fluxfest, Longshoremans Hall, San Francisco, March 31, 1967

Jeff Berner

Offset lithograph, sheet: 10 1/4 x 7 5/16" (26 x 18.5 cm)

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

This intricate poster by George Maciunas publicizes three events that took place the week of February 16, 1970 at Douglass College. The advertisement for Flux-Show promises, among other things, a “bubble machine,” “sand & rocks,” “smoke machines,” and “dispensers.” The Flux-Mass portion advertises vestments by Hala Pietkiewicz, Peter van Riper, and George Maciunas plus music and a mechanical dove by Joe Jones. Included in the program for Flux-Sports are Maciunas’s Badmington [sic] & Table Tennis “rackets with convex, corrugated, inflated surfaces, with holes in center, with 6ft handles, with spilling water containers” and Greg Calvert’s Obstacle Shoes “shoes filled with shaving cream, crushed ice, shoes on stilts, made of nails, inclined plane shoes, disintegratein [sic] shoes, bouncing shoes, slippery shoes, musical shoes”.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

Poster for Fluxfest Presents John & Yoko, Joe Jones' Tone Deaf Music Store and 80 Wooster Street, New York, April 11, and April 18-June 12, 1970

George Maciunas

Offset lithograph, sheet: 16 1/16 x 17 1/8" (40.8 x 43.5 cm

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008

One of the few Fluxus festivals held Eastern Europe, this was also one of the last that Maciunas was involved in. The poster advertises three days of Fluxus fun and one day in a Fluxclinic. The four-day festival was organized by Jarosław Kozłowski, with program assistance from Maciunas. The works were performed by local artists.

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift, 2008